Rock of Ages as presented by Kilmainham Inchicore Musical Society

Kilmainham Inchicore Musical Society 

Rock of Ages 

Saturday 2nd November 2024 

PUBLIC REVIEW 

Almost ten years ago, I was delighted to attend Kilmainham Inchicore Musical Society’s inaugural production of ‘Calamity Jane.’ How far they have come in almost a decade; replacing Deadwood’s Golden Garter with the seedy surroundings of the Sunset Strip’s Bourbon Room. What a journey…and what a terrible pun. Essentially a jukebox musical made up of 80s power ballads and rock anthems, ‘Rock of Ages’ was a great choice for this group as they embraced the madness of its less than subtle script and delivered an exuberant, highly energetic production to an enthusiastic matinée audience. From the beginning with the very suggestive front of house announcements, encouraging patrons to set phones to maximum vibration, we knew exactly what direction this show was heading in. And that was only the start of what would be a rollercoaster ride of delicious innuendo and raunchiness, set against a backdrop of 80s campness and accompanied by some of the decade’s most recognisable, infectious guitar licks. 

The front of house team was most efficient, ushering patrons to their seats in a most friendly and pleasant manner. It was heartwarming to see a group with special needs in attendance and how well looked after they were before, during and after the show. There was a real sense of community and inclusion which was so lovely to see. 

Stephen Fagan’s production was fast paced, with a strong focus on the comic elements of the show. I am still laughing at the hilarious motorcycle sequence! The toilet cubicle scene left absolutely nothing to the imagination and the well-staged riot sequence was impressively realised. I enjoyed the use of our friend at the bar (not credited in the programme) and his many comic turns facilitated by Mr. Fagan. Sightlines were an issue on quite a few occasions and, whilst this did not take away from the enjoyment of the show, it did jar a little when other aspects of direction were so strong. Mr. Fagan also had a very strong eye for casting, and this really was a front line to be very proud of. 

Looking every inch the rock goddess herself, a brilliantly energised Amy Penston-Hendley was clearly in her comfort zone taking on the role of musical director and guiding her five-piece band through a myriad rock classics. We were treated to power chords and screaming guitar solos galore, all solidly driven by heart-pounding drumbeats from one of the best musicians to sit behind a kit. The band was loud; that’s the gig. The audience is invited to “feel the noize!” However, at times, it was a strain to hear ensemble harmonies. They were there and they were great, but they just needed to be pushed out a bit more at times. Ms. Penston-Hendley was so sensitive to underscored dialogue, conscious of always pulling the band level back when needed, so that every word was heard. 

Siobhán Ryan did a great job on choreography, capturing the style and energy of the genre so well with her tongue-in-cheek dance routines suiting the talents of her large cast. Ms. Ryan devised some rather raunchy routines for Sherrie and her fellow strippers, which went down very well indeed. The excellent ‘Hit Me With Your Best Shot’ was delightfully camp and full of fun. Very well done by Ms. Ryan. 

This was my first time to see Lauren Dooley on stage and I hope it is not my last. Ms. Dooley was excellent as the ‘small town girl’ who embarks on a journey (here I go again with the puns!) from naïve ingenue to stripper on the Sunset Strip. She captured the essence of the wannabe actress so well, living every moment on stage in a superbly convincing, tour-de-force portrayal. 

Equally impressive was Gavin Molony’s portrayal of Drew, the “city boy, born and raised in South Detroit’’ (of course!) who hopes to make it as a big rock star. Mr. Molony channelled his inner David Lee Roth, stripping paint off the walls of the Inchicore College of Further Education with his powerful, soaring vocals. This was a most convincing characterisation from Mr. Molony who was every inch the rock star with his superb stage presence and relaxed delivery. 

Jamie Place blew the fourth wall asunder as the irreverent emcee, Lonny. His cheeky, often lewd observations, as he provided tongue-in-cheek ‘clarity’ to a less than taxing narrative, were dripping in hilarious 80s campness. He delivered an impressive singing performance too, rounding off a super overall portrayal. 

David Hynes pulled off the rare feat of balancing the despicable with the likeable in the role of egomaniacal rock star and all-round douchebag Stacee Jaxx. This was a performance full of confidence and flair. Mr. Hynes owned the stage, strutting and flaunting with arrogant abandon as he unashamedly laid down misogynistic marker after marker. His vocals were superb in ‘Wanted Dead or Alive’ and his no holds barred, ‘lavatorial shenanigans’ with Ms. Dooley raised eyebrows, temperatures and whatever you’re havin’ yourself. 

Nikki Johnston had excellent stage presence as the madame of the Venus ‘gentleman’s club,’ Justice Charlier. Ms. Johnston’s performance was full of poise, presence, and wonderful posture, commanding the stage with her every appearance. Her dialogue delivery was natural and thoughtful and her full, soulful voice in ‘Every Rose Has Its Thorn’ was a treat. This was a top-notch performance from Ms. Johnston. However, I did wonder if her unlit cigarette in almost every scene was necessary. 

Gavin O’Reilly was a very funny Dennis Dupree, the stoner owner of the iconic Bourbon Room, whose premises being set on a downward spiral sets the story’s conflict in motion. Mr. O’Reilly’s dry, laid-back delivery was very well pitched, squeezing every last morsel out of the role. His look was just perfect. Mr O’Reilly sang well too and ‘Can’t Fight This Feeling,’ with Mr. Place, was a comic highlight of the show. 

David Supple showed what a fine character actor he is as the sinister property mogul, Hertz. He had strong stage presence and impeccable comic timing throughout, in what was a very well judged performance. 

The part of Franz is a comedian’s dream and Aaron Macken Tierney grabbed the opportunity to wring every last drop of camp humour out of his role in a highly flamboyant, colourful performance that delighted the audience. There was a hint of Sacha Baron Cohen in his superb physicality and his comic timing was really on point. His comic talents segued nicely into his singing also. His long falsetto note at the end of ‘The Final Countdown’ was a comic treat, as was his hilarious turn in ‘Hit Me With Your Best Shot.’ 

Rachel Hanna showed her strong comedic chops as the quirky Regina, who somehow becomes half of a very mismatched duo with the aforementioned Franz. Ms. Hanna had great pace to her dialogue, never allowing things to dip. Facial expressions were super, and she was always engaged and in tune with the narrative action. She had a very strong singing voice too and was the perfect match, vocally and comically, for Mr. Macken Tierney in ‘Hit Me With Your Best Shot’. 

Lisa Younge had great presence and expression as Waitress #1 and shone brightly in the ensemble numbers too. 

Didi Moore proved that there is no such thing as a small part with her confident and highly humorous turn as Constance, the reporter who interviews Stacee Jaxx. 

Mikey McCormack was an equally strong performer as the mayor. Whether the passing Trump resemblance was intended or not, it did give me a giggle. 

You know you have a strong show on your hands when you have someone like Cormac Dredge playing cameo roles. He was excellent as both Drew’s agent, Ja’keith and Sherrie’s unsympathetic father. 

Nyree J Blackhall was far more nurturing as Sherrie’s mother and Alan Lau clearly enjoyed himself with a nicely played, over the top, Joey Primo. 

There was very good work from a busy ensemble who completely embraced how bonkers the show was and went all in on its madness. Energy levels were high, and it was clear that all were enjoying the hedonistic fun as everyone channelled their inner rocker. I was particularly impressed with the ‘Venus dancers’ who not only danced very well but projected great individuality of character in doing so. 

With no scene changes as such, things did not appear to be too busy for stage manager, Colum McDaid. But, as we all know, what is visible is only half the work of an effective stage manager. The fact that this show moved along so slickly showed that there had been great collaboration between Mr. McDaid, Mr. Fagan, and cast – the latter moving furniture, props, and quirky rolledup scenery pieces to ensure seamless transitions throughout the show. 

A very effective set, designed by Mr. Fagan and Mr. McDaid, was visually pleasing and allowed for good flexibility in staging. It was fabulously dressed with guitars, discs and neon signage giving a very authentic feel. The upper level provided Mr. Fagan with some good options and the bandstand was nicely utilised by cast when necessary. The upstage windows allowed for some wonderful lighting effects throughout. 

Props were generally very good with attention to detail in most areas. The briefcase full of cash, the protest placards, LAPD riot shields and the very well-made building model display were examples of good effort being made to get things right. However, having money printed on only one side and using the same chairs in the Bourbon Room as we were sitting on in the audience was unfortunate, when they were relatively easy fixes. 

Lighting for this show was stunning, not just in its design but, crucially, in the timing of operation. There was great contrast between the exhilarating rock concert stadium feel and more subtle, sensitive moments. The design was colourful, bold and in your face…literally! The moving lights chasing through the audience at the top of the show was in keeping with the overall style of presentation, smashing that fourth wall wide open before the show even commenced. LED battens incorporated into the set looked superb and offered great options throughout. Lighting even got in on the comedic possibilities of the show. I loved how the backlighting at the end of ‘Can’t Fight This Feeling’ accentuated the hilarious performances. 

Sound was generally very good throughout. The microphone gremlins were at play for Mr. Molony’s opening appearances – unfortunate, but these things happen. Rectified quickly, there were no issues for the remainder of the show. Cueing was exceptionally good with no missed entrances. Lead vocals were full and warm, always set above and never competing with the level of the band. I would love to have heard more of the ensemble’s vocals, especially the offstage singing which I felt needed a little more support. Overall, a really great job in a show with such a challenging dynamic. 

This was a near perfectly costumed show and all credit is due to those who coordinated. Each character, from principal players to ensemble members, had their own distinct look and style. There was wall-to-wall figure-hugging leopard print, leather, and torn denim…and that was just the men! Hippy-esque attire, gospel robes and the Venus ladies’ pink ‘uniforms’ were very well chosen. The brightly coloured leotards for ‘Hit Me With Your Best Shot’ were a perfect assault on the senses. Well done to all! 

What fun was had too with hair and make-up, reflecting the outrageous tone and themes of the show. Hair was big and the ladies’ make-up was very 1980s. The strippers had an interesting/unusual look which set them apart as ‘performers.’ Wigs were very well chosen, especially for Stacee and Lonny, who looked like Spinal Tap wannabes. 

This was a thoroughly entertaining production of ‘Rock of Ages.’ As a show, it may be light on narrative complexity and deeper insights into the human condition. But so what?!! Kilmainham Inchicore Musical Society and their talented production team embraced the pure, unadulterated, ‘leave-your-brain-at-the-door’ FUN that is ‘Rock of Ages’ and gave us a show that never took itself seriously, delivered with a knowing, tongue-in-cheek, self-deprecating glee. A credit to all involved. Thank you and best wishes for your tenth anniversary next year! 

Pat McElwain

Gilbert Adjudicator 24/25 

Photos by Darragh Carroll